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Rivista Di Analisi E Teoria Musicale Periodico Dell’Associazione Gruppo Di Analisi E Teoria Musicale (GATM) Rivista di Analisi e Teoria Musicale Periodico dell’associazione Gruppo di Analisi e Teoria Musicale (GATM) Notes on Contributors/Notizie sugli autori Fonte: Rivista di Analisi e Teoria Musicale, Anno XXII, 2016/1-2, pp. 227-230 ISSN: 1724-238X ISBN: 978-88-7096-762-3 Pubblicata da: LIM Editrice srl, Via di Arsina 296/f – 55100 Lucca Nessuna parte di questo articolo può essere riprodotta o trasmessa, in qualsiasi forma o mezzo, senza l’autorizzazione preliminare del Gruppo di Analisi e Teoria Musicale. Notes on Contributors Alessandro Bratus He received his PhD in Musicology in 2009 from the University of Pavia, where he is currently Lecturer in popular music. His teaching and research activities are focused on analytical approaches to music and audiovisual media in Anglo-American and Italian popular culture since the 1960s. He has published on musical and media experimentation in popular music, on the structural relationship between musical form and meaning, and on the trope of authenticity in contemporary media. He currently serves as a member of the Advisory Board of the GATM (Italian Study Group for Music Teory and Analysis) and is the editor of «Analitica: Online Journal of Music Studies». Vincenzo Caporaleti He teaches General and Transcultural Musicology at the University of Macerata, and Jazz Analysis at the “S. Cecilia” Conservatory in Rome. As a guitarist, he was member of the Italian progressive rock group Pierrot Lunaire, and in the jazz scene he has collaborated for many years, among others, with Tony Scot Quartet; he was also a classical guitar teacher in several Italian musical institutions. As a musicologist, he has published over twenty scientifc monographs, mostly dedicated to the Teory of Audiotactile Formativity. John Covach Director of the University of Rochester Institute for Popular Music, and Professor of Teory at the Eastman School of Music. He has published widely on topics dealing with popular music. He is the principal author of the college textbook What’s Tat Sound? An Introduction to Rock Music (Norton, 2006), and has co-edited Understanding Rock Music: Essays in Musical Analysis (Oxford University Press, 1997) and Sounding Out Pop: Analytical Essays in Popular Music (University of Michigan Press, 2010). As a guitarist, Covach has performed widely in the US and Europe. Philippe Gonin Lecturer at the University of Burgundy, composer and arranger, he centres his work on the analysis of popular music. He has authored books on Pink Floyd, Magma and Te Cure, and has edited Focus sur le rock en France: analyser les musiques actuelles (Delatour, 2014) and Prog Rock in Europe: Overview of a persistent musical style (EUD, 2016). He is a member of the Georges-Chevrier Research Centre (UMR CNRS 7366). Notes on Contributors Dietrich Helms Professor of Music History at the University of Osnabrück, and vice dean of the School of Educational and Cultural Studies. He studied Musicology, Sociology and English at the Universities of Münster, Oxford and East Anglia. From 2005 to 2016 he was co-chair of the German Society for Popular Music Studies (formerly ASPM), and from 2001 to 2016 editor of GfPMs yearbook «Beiträge zur Popularmusikforschung». His research interests include music as a communication system, iconography of music, music in the context of the First World War, (English) Renaissance music, popular music and popular forms of musical theatre (especially for children and adolescents). Stefano La Via He has completed his musicological studies at the Universities “Sapienza” of Rome (Laurea in letere degree) and Princeton (MFA, PhD in Musicology). He is currently Associate Professor at the University of Pavia, Department of Musicology, Cremona, where he teaches “Storia della Poesia per musica” and “Storia della Canzone d’autore”. He has carried out research and published many essays on the relationship between poetry and music in various historical periods, from Medieval times to nowadays, with particular reference to 16th-century Italian Madrigal, Baroque Opera, and Auteur Song in Europe, USA and Brazil. Max Paddison He is Professor Emeritus of Music Aesthetics in the Music Department at Durham University (UK) and Associate Member of the Philosophy Department. His research specialisms are in critical theory, aesthetics, and sociology of music. He is the author of Adorno’s Aesthetics of Music (Cambridge University Press, 1993), and Adorno, Modernism and Mass Culture (Kahn & Averill, 1996). He is joint editor (with Irène Deliège) of the book Contemporary Music: Teoretical and Philosophical Perspectives (Ashgate, 2010). Timothy D. Taylor He is Professor in the Department of Ethnomusicology at the University of California, Los Angeles. He is the author of Global Pop: World Music, World Markets (Routledge, 1997); Strange Sounds: Music, Technology and Culture (Routledge, 2001); Beyond Exoticism: Western Music and the World (Duke University Press, 2007); Te Sounds of Capitalism: Advertising, Music, and the Conquest of Culture (University of Chicago Press, 2012); Music and Capitalism: A History of the Present (University of Chicago Press, 2016). Music in the World: Selected Essays, will be published early in 2017. – 228 – Notizie sugli autori Alessandro Bratus Ha conseguito il Dotorato di ricerca nel 2009 presso l-Università di Pavia, dove è atual- mente ricercatore a tempo determinato in popular music. Le sue atività di insegnamento e ricerca sono concentrate sugli approcci analitici alla musica e ai media audivisivi nella popular culture anglo-americana e italiana dagli anni Sessanta in avanti. Le sue pubblica- zioni riguardano in particolare i linguaggi sperimentali nei media e nella popular music, le relazioni struturali tra forma e signifcato, e il tropo dell-auntenticità nella comunicazio- ne mediale contemporanea. Atualmente è membro del Comitato scientifco del GATM e diretore di «Analitica: Rivista online di studi musicali». Vincenzo Caporaleti Insegna Musicologia generale e Musicologia transculturale presso l-Università di Mace- rata, e Analisi del jazz al Conservatorio “S. Cecilia” di Roma. Come chitarrista, è stato esponente del progressive rock italiano col gruppo Pierrot Lunaire, e in ambito jazz ha col- laborato per vari anni, tra gli altri, con il Tony Scot Quartet; è stato inoltre docente di chi- tarra classica in vari istituti musicali italiani. Come musicologo, ha pubblicato oltre venti monografe scientifche, in gran parte dedicate alla Teoria della Formatività Audiotatile. John Covach Diretore dell-Institute for Popular Music presso la University of Rochester, e professo- re di Teoria musicale alla Eastman School of Music. Ha pubblicato numerosi articoli su vari argomenti relativi alla popular music. È il principale autore del manuale universitario What#s Tat Sound? An Introduction to Rock Music (Norton, 2006), e ha collaborato alla curatela dei volumi Understanding Rock Music: Essays in Musical Analysis (Oxford Uni- versity Press, 1997) e Sounding Out Pop: Analytical Essays in Popular Music (University of Michigan Press, 2010). Come chitarrista, ha tenuto molti concerti negli Stati Uniti e in Europa. Philippe Gonin Ricercatore all-Université de Bourgogne, compositore e arrangiatore; la sua atività di ricerca si concentra sull-analisi della popular music. Ha pubblicato libri sui Pink Floyd, Magma e Te Cure, e ha curato i volumi Focus sur le rock en France: analyser les musiques Notizie sugli autori actuelles (Delatour, 2014) e Prog rock in Europe: Overview of a persistent musical style (EUD, 2016). È membro del Centre Georges-Chevrier (UMR CNRS 7366). Dietrich Helms Professore di Storia della musica all-Università di Osnabrück, e vice-diretore dell-Institut für Musikwissenschaf und Musikpädagogik. Ha studiato musicologia, sociologia e let- teratura inglese alle università di Münster, Oxford e East Anglia. Dal 2005 al 2016 è stato co-diretore della German Society for Popular Music Studies (un tempo ASPM), e dal 2001 al 2016 ha direto la rivista annuale «Beiträge zur Popularmusikforschung». I suoi interessi di ricerca comprendono la musica come sistema comunicativo, l-iconografa del- la musica, la musica nel contesto della Prima guerra mondiale, la musica rinascimentale inglese, la popular music e le forme del teatro musicale popular (specialmente quelle dedi- cate a bambini e adolescenti). Stefano La Via Ha compiuto gli studi musicologici presso le università “Sapienza” di Roma (Laurea in Letere) e Princeton (MFA, PhD in Musicology). Atualmente è professore associato di Storia della poesia per musica e di Storia della canzone d-autore presso il Dipartimento di Musicologia e Beni Culturali di Cremona (Università di Pavia). Ha svolto ricerche e pubblicato numerosi saggi sul rapporto fra poesia e musica in varie epoche storiche, dal medioevo a oggi, con particolare riferimento al madrigale italiano del xvi secolo, al dram- ma per musica sei-setecentesco e alla canzone d-autore in Europa, Brasile, USA. Max Paddison Professore emerito di Estetica musicale presso il Dipartimento di Musica della Durham University (UK) e Membro associato del Dipartimento di Filosofa della stessa Univer- sità. I suoi interessi di ricerca si concentrano negli ambiti della teoria critica, dell-estetica e della sociologia della musica. Ha pubblicato i volumi Adorno#s Aesthetics of Music (Uni- versity Press, 1993) e Adorno, Modernism and Mass Culture (Kahn & Averill, 1996). Insie- me a Irène Deliège, ha curato il volume Contemporary Music: Teoretical and Philosophical Perspectives (Ashgate, 2010). Timothy D. Taylor Professore al Dipartimento di Etnomusicologia della University of California (Los Ange- les). Ha pubblicato i volumi Global Pop: World Music, World Markets (Routledge, 1997), Strange Sounds: Music, Technology and Culture (Routledge, 2001), Beyond Exoticism: We- stern Music and the World (Duke University Press, 2007), Te Sounds of Capitalism: Ad- vertising, Music, and the Conquest of Culture (University of Chicago Press, 2012), Music and Capitalism: A History of the Present (University of Chicago Press, 2016). Il suo ultimo libro, Music in the World: Selected Essays, sarà pubblicato nei primi mesi del 2017. – 230 –.
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